Even if I start this review with “Someone stop the rage inside Joel Grind!”, I absolutely take it back—no one should stop him. After signing with Relapse Records, Joel keeps vomiting his massacre poison without hesitation. Toxic Holocaust is back with their third album, and we’re witnessing the filthy face of witchy punk/thrash metal explode in our ears. The album is a kind of re-production of the essential elements from the old days that may still linger in your mind, and its toxic energy alone proves how original Toxic Holocaust's music truly is.
Tracklist:
Wild Dogs – 02:18
Nuke The Cross – 02:48
Endless Armageddon – 03:15
Future Shock – 02:33
War Game – 00:59
In The Name Of Science – 03:24
March From Hell – 02:53
Gravelord – 02:17
War Is Hell – 03:01
The Lord Of The Wasteland – 02:48
Feedback, Blood, and Distortion – 03:27
Death From Above – 02:00
City Of A Million Graves – 04:51
Recorded at Soundhouse Studios in Seattle, the album was produced by Jack Endino. The cover art presents classic Toxic Holocaust aesthetics; once again portraying a sick, mutated, post-apocalyptic world. This time, however, it’s even more terrifying, throwing us into a chaotic realm drowning in deadly chemical waste and infectious plagues, where we face the attack of rabid wolves. The album builds a post-doomsday scenario, both sonically and lyrically, combining nuclear warfare with satanic themes to craft a striking concept.
Musically, you’ll detect influences ranging from Sodom, Venom, Possessed, Slayer, Exodus, and Kreator. Joel Grind expertly fuses punk fury with the filth of thrash and bridges it with black metal’s inferno. Taking full control of all instruments himself, Joel delivers some of the most depraved vocals you’ll hear—raw, nasty, and barking about war, destruction, hatred, and terrifying futures. The songs are driven by speed and aggression, with rough production that brings out the harshness in every riff. Though one could argue the solos are a bit underwhelming, it’s hardly an issue with an album so relentless.
“Wild Dogs” starts off like a stampede—a typical thrash metal assault. Though the main riff isn’t the most memorable, short yet solid solos, strong transitions, and a brilliant tempo shift toward the end make it unforgettable. Lyrically, it symbolizes the album art, narrating the demonic invasion of flesh-hungry hounds.
The intro tone of “Future Shock” is insane, and the riffs are insanely catchy, especially the guitar break between 1:48 and 2:08—one of the album’s most mind-blowing moments. Lyrically, it’s a bleak reflection of a future devastated by nuclear war. You’ll definitely feel the Sodom worship on this track and also on “Nuke The Cross.”
“War Game,” which lasts less than a minute, starts with a Slayer-like vibe. Think classic ‘80s American thrash combined with ultra-aggressive vocals—pure chaos packed into a short runtime.
The re-recorded version of “War Is Hell” has already been experienced by longtime fans since Evil Never Dies. Compared to the original, this version sounds fuller and more savage, thanks to the overall structure of the new album. “The Lord Of The Wasteland” will melt your face with its bouncy, fun riff—head-crushing in every sense.
“In The Name Of Science” is an excellent, destructive thrash track showcasing Joel’s love for ‘80s influences. While Joel may not deliver the tightest drumming across the album, his performance here—including a neat little drum solo—is commendable. The song paints a disturbing picture of grotesque experiments conducted under the wings of science.
Starting with a low-end guitar intro, “Gravelord” suddenly explodes into fury. It’s one of the most rabid and anarchic tracks on the record. Strangely, it closes in a punk rock fashion, which is unexpected—but that’s the essence of Toxic Holocaust. Joel Grind is here to surprise. Lyrically, it portrays hell as an exit route for people trapped in future chaos, pandemics, and fears. I’ve also become obsessed with the moderate intensity of the vocals on “March From Hell.”
“An Overdose Of Death…” is a new gift from Toxic Holocaust—a result of Joel Grind’s commitment to pushing thrash metal to its most extreme edge in the new millennium. If you’re in search of an old-school album that fuses punk, thrash, and black metal, don’t miss this one—or any of the band’s earlier masterpieces. For those craving punk-driven thrash/black metal violence, this is a must-hear.